Sweet Radiant Mystery

Description

A beautiful melody serves as the basis of this meditative chant which evolves into an ethereal canon. Sweet Radiant Mystery was born of my own contemplative practice and desire to see the world with open eyes, even if that means seeing things from a different point of view. The piece mirrors both everyday life and our ever-present breath. There are moments of both tension and release, of work and of rest.

Text

O Sweet Radiant Mystery,
set us free from that which binds,
beckoning the soul to fly.

O Sweet Radiant Mystery,
open our eyes to see beyond
that which hides the soul from light.

O Sweet Radiant Mystery,
help us hear the endless song
of all that is and was and ever shall be.

Catherine Dalton, 2008

Program Notes

Performance Notes

“From a teaching perspective, this one should be a quick read, even for less experienced ensembles. In general, the piece is an extended round, with minimal complications, suitable for a number of concert themes and pedagogical uses. It is so much more than “just” a round though. There is beauty found between the notes, and within each overlapping imitation. Savoring these moments creates a contemplative cloud that envelops the singer and the audience alike.

The work has no key signature given, but the voice parts can be read as if in d (natural) minor. This is great chance for la-minor solfege! Its rhythms are all half notes and quarter notes, along with some ties, and so can be sight-read. All in all, the piece will likely not be difficult to learn.

The beauty of this work…comes from its spare nature and clarity. The interest lies in the breaths between phrases and the space – vocally, metaphorically, and otherwise – created in the moment. The piece…provides ample opportunity for the growth of your ensemble through phrasing, breathing, and word stress. The intentionality found in each note, each phrase, each lift, can be stunning.

The accompaniment is a four-measure pattern which repeats continually until the end of the song. It is intended to be played on piano or handbells. If using piano, the chords should be approached with bell-like clarity. Another option might be educational hand chimes, if you wanted the ensemble to accompany themselves, but that might take away from the meditative nature for the singers. If the performance goal is to involve other ensembles/departments, you might be able to use a small combination of Orff instruments, marimba, or vibes as well, but that likely depends on the resonance of your space and your instruments. The goal is to use something that will strike clearly and continue sounding until dampened.

Woven together with great care, the phrases foster a contemplative, meditative feeling. Thus, the text transcends the typical sacred/secular divisions of our usual choral repertoire.

I can see this piece being used in a number of thematic concerts, as well as a standalone work chosen for its pedagogical qualities (minor solfege, part independence through rounds, etc.). For my ensembles, we first approached the piece during a concert sequence dedicated to mindfulness, and then ultimately performed it during a winter holiday concert/service, when I needed a “feels-sacred-but-is-not-explicitly-Christmas” piece. We all have those type of programming needs, right?!

Ultimately, Catherine Dalton’s selection is readable and/or easily-teachable, with immense opportunity for reflective practice and shaping of musical moments. If done right, there is potential to shape hearts and minds as well.”

From One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs, January 4, 2019 by Shelbie L. Wahl-Fouts; ChoralNet Blog Post, Reprinted with permission from the author.

Performances

*Amaryllis, Mary Duncan, piano (Mahtomedi, MN) – World Premiere
Wayne State College Concert Choir, Ronald Lofgren, conductor (Scotland, Victoria, London) – European Tour and European Premiere
Unitarian Universalist Partner Church Festival Choir, Elizabeth Norton, conductor (Transylvania and Hungary) – Eastern European Tour and Eastern European Premiere
Aurora Chorus, Joan Szymko, conductor (Portland)
BuxMont Unitarian Universalist Fellowship Choir, John Hook, conductor (Warrington, PA)
Calliope Women’s Chorus, Richard Carrick, conductor (St. Paul)
Camrose United Church, Darryl Dewalt, conductor (Camrose, AB, Canada)
Congregation Choir, Connie Jahrmarkt, conductor (Phoenix, AZ)
DuPage Unitarian Universalist Church Choir, Vickie Hellyer, conductor (Naperville, IL)
Eliot Chapel Women’s Chorale, Jan Chamberlin, conductor (Kirkwood, MO)
From Age to Age, Peter J. Durow, conductor (Anoka and Eagan, MN)
General Assembly (GA) of the Unitarian Universalist Association Choir, Ruth Palmer, conductor (Minneapolis, MN)
Harmonia (Mahtomedi, MN)
Interlochen Arts Academy Choir, John Bragle, conductor (Interlochen, Michigan)
Inversion Ensemble: Da Capo, Adrienne Pedrotti Bingamon, conductor (Austin)
Land of Lakes Choirboys of Minnesota, Aaron Carpenter, conductor (Minneapolis, MN)
Lumina (St. Paul)
Marin Girls Chorus, Grace Renaud, director (San Franscisco)
Melrose Unitarian Universalist Church Choir, Mary Neuman, conductor (Melrose, MA)
North Universalist Chapel Society Choir, Diane Mellinger, condcutor (Woodstock, VT)
Olivet Congregational Church Choir, Paul Boehnke, conductor (St. Paul)
Peterborough Unitarian Universalist Church Adult Choir, Maria Belva, conductor (Peterborough, NH)
Philomusica Chorale, Gayle Wieand (Oreland, PA)
Songbird, Anika Kildegaard, conductor (St. Paul, MN)
St. Barnabas Episcopal Parish Choir, Misty Dupuis, director (Denver)
The Unitarian Universalist Church of Concord New Hampshire, Linda Mai, conductor (Concord, NH)
Unitarian Choir and Chalice Bells, Mark Slegers and Ellie Hodder, conductors (Portland, OR)
Unitarian Universalist Church of Charlotte Choir, John Herrick, conductor (Charlotte, NC)
Unitarian Universalist Church of Westport Choir, Rev. Ed Thompson, conductor (Westport, CT)
Unitarian Universalist Congregation of Princeton Adult Choir, Marjorie Herman, conductor (Princeton, NJ)
Unitarian Universalist Fellowship of Northern Westchester, Scott Dyer, conductor (Pleasantville, NY)
Unitarian Universalist Fellowship of Raleigh Choir, Yuri Yamamoto, conductor (Raleigh, NC)
Unitarian Universalist Musicians Network (UUMN) 2009 National Conference Choral Reading Session (Portland)
Unitarian Universalists of the Cumberland Valley Choir, David Glasgow, conductor (Boiling Springs, PA)
Unity Church – Unitarian Adult Choir, Ruth Palmer, conductor (St. Paul)
University of Wisconsin-Plattville Concert Choir, Dr. Trey Davis, conductor (Plattville, WI)
Youth Choir, Annease Hastings, conductor (Manassas, VA)
Walden Hill Vocal Ensemble, Joseph Mish, conductor (Rochester, MN)
Choir of Universalist Unitarian Church of Santa Paula, Rev. Maddie Sifantus, conductor (Santa Paula, CA)

Critical Acclaim

The beauty of this work…comes from its spare nature and clarity. The interest lies in the breaths between phrases and the space – vocally, metaphorically, and otherwise – created in the moment.